Showing posts with label special collections. Show all posts
Showing posts with label special collections. Show all posts

Sunday, June 23, 2013

Work Update: Exhibit

 
“Chester’s ‘Tommie’ Barker – a Year in Professional Women’s Baseball, a Lifetime of Memories” exhibit, Rossney E. Smyth Memorial Display Case, Chester Library, Chester, New Jersey. Photograph © Debra Schiff 2013.

I'll admit it. I'm a bit envious of libraries with multiple display cases and areas dedicated to exhibits. While the image above shows a fine, sizable display case, it's the only one we have at Chester Library.  If we had, perhaps a square museum case, I could place it in that corner all the way in the back by the quiet study rooms. I could outfit the case with one of our not-quite-rare, but certainly scarce, old books. For now, I'll be happy with the one above.

The exhibit shown in the image above is focused on the terrific Tommie Barker, our resident sports legend. She played professional women's baseball in 1950, not long before the end of the All-American Girls' Baseball League. Tommie (whose father wanted a boy and whose real name is Lois) played softball on a team she helped create, the Chester Farmerettes and previously on the Roxbury High School team before the League's tryouts in Irvington, New Jersey.

After earning a spot in the "camp" phase of the tryouts she took several trains to finally arrive in Indiana. Tommie earned her spot as the oldest rookie in the League at age 27, although she fibbed about her age and said she was 21. She was signed to the Grand Rapids (Mich.) Chicks for the 1950 season, and quickly made new friends in her teammates. The framed photo in the upper right corner of the image above shows her team photo.

Because Tommie's items are on loan from her personal collection, she agreed that I could make digital facsimiles of all the materials for a future online exhibit. The yearbook in the center bottom of the case is from the Chester Library collection, although it was a donation from a former Chester resident who wanted it to go to a good home. You can see Tommie in the yearbook on the left page, top-most photo.

When I visited Tommie to talk with her about her life and experience as a professional women's baseball player, I learned that she only played for one year because her father had become ill. "Back in those days," she said, "You had to come home and take care of your parents." When the League mailed her a renewal contract for 1951, she returned it unsigned due to her devotion to her father.

She didn't keep her uniform, but she did hold on to the round sweater patch (on the right) and the shield-shaped uniform patch (on the left). They are in excellent condition, and I placed them on top of some black velvet cut in a way that I hoped would make them pop even more against the light blue background. The blue paper is actually archival wrapping paper which is acid-free and buffered. I thought that it would provide a stable background for the items in the case.

The other framed items include a tinted black and white portrait of Tommie and her certificate from the Baseball Hall of Fame, which had inducted the League in 1998. When I unframed the items to make digital facsimiles, I discovered two other photos in the portrait's frame. First, there was black and white signed portrait of Tommie in the same pose, and a baby picture with three children. When I see Tommie next, I'll ask her about that baby photo.

I used small bench weights to keep the framed items in a tilted standing position, hiding them with other items. For future exhibits, I will likely wrap them in black velvet to make them less noticeable. One of the items used to camouflage the weights is a digital facsimile I received from the Grand Rapids Public Library. It is a copy of a 1950 program from a Grand Rapids Chicks game. The Special Collections librarian at GRPL made a digital copy of a few of the inside pages, including one that shows the team photo. I'll hang onto that one for the online exhibit.

The baseball is held in place by a coiled string weight that you cannot see from above. These types of weights are typically used to hold book pages open. They resemble white shoelaces. Finally, I also used the tilted frames to hide some silica gel packets to help prevent humidity from causing damage to the items.

On top of the case, I used an acrylic stand to hold a list of the items within the case. I hope that it helps to discourage patrons from using the case as a stand for their items. Because the case is currently located between a copier/print station and another copier, I've seen my share of people setting items on top of it.

Last, but far from least, I was able to locate an historian who is an expert on women in baseball for a companion program on July 25. Leslie Heaphy is the author of the Encyclopedia of Women and Baseball, and is an associate professor of history at Kent State University. Tommie Barker has the date on her calendar, and although the 90-year old has had some health challenges, she can't wait for an evening of women's baseball history in her hometown of Chester.

Sunday, June 02, 2013

The Service Side of Being an Archivist and Local History Librarian

Some may characterize library service as being available at the reference desk for appointments, phone calls, email and web requests, and "walk-ins." However, library service is all-encompassing, from the moment a patron enters or contacts a library until (s)he leaves/disconnects. Libraries are places that people trust for their ability to provide answers whether via the reference desk, a book or database, a special collection, or any number of resources, especially the library workers. It is for that reason that I take an holistic approach to library service.

At both of my employing libraries, I regularly work with some terrific volunteers. In Chester, one is a Friend of the library who shares great photos of her husky dog and clips newspaper articles for Local History. She had attended one of my "Caring for Your Family's Treasures" workshops and asked if I might help her with some specific preservation questions concerning some old photos and a Bible. I readily agreed because

1. She asked for my help, and that's what I do...HELP.
2. Preservation isn't work for me, it's fun.
3. I was excited to see what she would bring to my office.
4. The request entailed shopping for archival supplies, and those web sites are my kind of candy stores.

Later, the Friend brought to my office a huge family Bible, cabinet cards, and larger mounted photos all dating from the mid-1800s to the early 1900s. The Bible clearly had some binding issues and had been used (as many are) to hold genealogy documents, which had become acidic and fragile. Some of the photos were in better shape than others, however all were notable not only for the sentimental value to the volunteer, but for the subjects' expressions, costumes, and poses. After we measured them, I placed the photos into suitable folders until she could put them into polyester sleeves.

She also asked me to help her select supplies and house the Bible because it was so large. The illustrated family Bible would require a custom sling to help place it inside (and remove it from) the box she would purchase. Typically, a special collections department would purchase a custom drop-front box for such an item, but these types of custom boxes can be cost-prohibitive for many people (such as our volunteer). In her case, I let her know that I would be happy to create a way of working with a box already available in dimensions suitable to her needs.

I guided her to items that she would need for this project. She navigated the University Products site easily and placed her order within an hour of her first showing me the photos. We were able to stay within her budget and begin her early preservation work.

The Friend was very grateful, and her gratitude was contagious. Not two days after our shopping session, she brought to my office the president of another local organization who needed help preserving the group's 20+ scrapbooks. As ever, I was happy to help.

Sunday, June 17, 2012

Interview with the Artist, Karen Guancione -- "A Portable Constant Obsession"

Introduction
Over the years, I've had my share of fun and interesting side projects, but this year's project -- documenting a small portion of the work and life of a living artist -- could top the list. The artist Karen Guancione's work is wide ranging, from pocket-sized artists' books to gigantic installations of sewn plastic bags hanging in panels (and loads of other forms in between). The woman Karen Guancione is intelligent, energetic, focused, engaging, humorous, and inspiring. She fights for workers' rights and human rights at an international level, and takes an avid interest in her students' work.

Karen also is very generous with her time and committed to documenting her life's work, so when she said she'd like to open up the cases in the "A Portable Constant Obsession" exhibit at Rutgers, take out her art, and talk with me at length about the pieces and her life as an artist, I jumped at the opportunity. 

In previous posts, I've spotlighted some of Karen's local installations. For instance, I was incredibly moved by her "Found Journal" exhibit at the Printmaking Council of New Jersey in 2010. More recently, exhibit curator Michael Joseph gave me a tour of the "A Portable Constant Obsession" exhibit. 

Now, interspersed with beautiful photographs by Bruce Riccitelli (and a few by yours truly), here is the first in a series of my interviews of Karen Guancione. Note: In some cases, the description above an image applies to other images of the same piece. Those other images will immediately follow the one with the description above it. Additionally, some of the videos are a bit dark, and for that I apologize. 

Begin at the Beginning
We began our interview in the upstairs gallery, across from the entrance of Rutgers' Alexander Library. One of the pieces in the exhibit was Karen's first journal. Even at 7 years old, she documented the world around her.



The two photographs below show the pages Karen read in the video:

Untitled 
First travel journal created at age seven on family cross-country road trip.  Photograph © Bruce Riccitelli. All rights reserved.
From Karen Guancione Art

The Cacophony of Life
During the 1970s through the 1990s, Karen continued keeping diaries, which evolved into art journals, complete with collages of ephemera, drawings, paintings, and text. 

In the video below, she talks about the journals in a display case in the "A Portable Obsession" exhibit.




Aquiloni
Within the entire installation are smaller displays, often hung with Karen's "Aquiloni." In the video below, she explains just what the works are and the amazing effect they have on children.



Below are a series of photographs showing materials Karen referenced in the video above. Additionally, I've included the "Catalog Card Aquiloni" she created specifically for the exhibit, hung in the downstairs Special Collections gallery.

Aquiloni 
Letterpress (edition of 40), Hahnemuhle and handmade paper, acrylic paint, thread, w: 5-1/4 x h: 7 3/4 x 43 inches when open, printed and published by Edizioni Pulcinelefante in 2004. The text, "Quando sono stanco di camminare, VOLO" ("When I'm tired of walking, I FLY"), was written specifically for this book and the artist’s installations by the Italian poet Roberto Dossi. The book accompanies a large-scale installation of the same name. Artwork © Karen Guancione. Photograph © Bruce Riccitelli. All rights reserved.
From Karen Guancione Art

Aquiloni, Scuola dell’ Infanzia Ex-Lucca

Mixed media, with drawings of the artist’s Aquiloni installation made by 3 to 5 year old preschool children from Scuola dell’ Infanzia Ex-Lucca in Fiorenzuola d’ Arda, Piacenza, Italy. Translation of page shown: thank you from the children and teachers. Mixed media: handmade paper (wool, cotton and mixed papers), acrylic paint, small sewn photographs of students in the installation Aquiloni, linen thread, children’s original drawings and written descriptions, closed: h: 15 3/4 x w: 12 x d: 1 inch, 2005. Artwork © Karen Guancione. Photograph © Bruce Riccitelli. All rights reserved.
From Karen Guancione Art

Card Catalogue Aquiloni
Mixed media installation: old catalogue cards from Alexander Library, small pieces of handmade and hand painted paper, shipping tags, labels, coin wrappers, torn prints and other found materials hand sewn and suspended throughout the 2 galleries, size variable, 2012. 
Artwork © Karen Guancione. Photograph © Debra Schiff. All rights reserved.
From Karen Guancione Art

In the following video Karen talks about how she was able to obtain all those catalog cards, especially when the library no longer uses them. She also talks briefly about her work, "La Jupe" and the installation.

La Jupe (The Skirt)
Found skirt, acrylic paint, created in Nice, France in August 2008, w: 15 x h: 36 1/2 inches ©Karen Guancione.



The photo below shows one of the letterpress books inserted into the case.

Gli Occhi di Santa Lucia (The Eyes of Santa Lucia)
Letterpress (edition of 43), wood engraving, Hahnemuhle paper, gold leaf, grommets, ribbon, metallic pigment, shipping tag, holy card and medal, w: 5-1/4 x h: 7 3/4 inches, printed and published by Edizioni Pulcinoelefante, Osnago, Lecco, Italy, 2007. Artwork © Karen Guancione. Photograph © Bruce Riccitelli. All rights reserved.
From Karen Guancione Art

Artists' Books
In the next video, Karen talks with me about the collaborative art project "Art Trash." Immediately following the video is a photograph of the letterpress cover.




TRASH ART/ ART TRASH
Letterpress (edition of 66), mixed media, Hahnemuhle paper, w: 5-1/4 x h: 7 3/4 inches, with Carmen Cheung, Asha Ganpat, Lisa Hasselbrook, Suzanne Reiman, Carolyn Salinas, Susan Valenza and Sally Willowbee, printed and published by Edizioni Pulcinelefante, Osnago, Lecco, Italy, 2004. Artwork © Karen Guancione. Photograph © Bruce Riccitelli. All rights reserved.

From Karen Guancione Art

Moving to the Special Collections gallery, in the next video, Karen and I talk about what might be her most famous work, "Guide de la Correspondance Amoreuse."



Guide de la Correspondance Amoureuse 
Mixed media, found materials, red bra and underwear, scraps from antique books and actual love letters, contains collage, drawings, paintings, closed: w: 13 1/2 x h: 12 x d: 6 3/4 inches, created in Nice, France in the winter of 2004-05, (view one: front cover, view two: back cover showing closure with bra). Artwork © Karen Guancione. Photograph © Bruce Riccitelli. All rights reserved.
From Karen Guancione Art


From Karen Guancione Art

Guide de la Correspondance Amoureuse 
Mixed media, found materials, red bra and underwear, scraps from antique books and actual love letters, contains collage, drawings, paintings, closed: w: 13 1/2 x h: 12 x d: 6 3/4 inches, created in Nice, France in the winter of 2004-05. Artwork © Karen Guancione. Photograph © Bruce Riccitelli. All rights reserved.



From Karen Guancione Art

In the next video, Karen shows me one of her most recent works, "Nice 1."

Nice 1 (2011)
Mixed media, handmade paper, found materials, 100 pages of collage, drawing, painting, cover: found tile shards, stones and glass, acrylic paint, w: 13 x h: 10 1/2 x d: 3 1/4 inches, with painted zippered bag, fabric, acrylic paint, w: 16 3/4 x h: 13 inches, July - August 2011.


Next, Karen talked with me about her serendipitous experience finding a different kind of medium to use in an artists' book.


This image shows a close up of the book's cover.

Pátzcuaro (number 3)
Mixed media, handmade paper, collage, painted communion hosts, found materials, 12 plastic baby and ceramic baby Jesus figurines on cover, 100 pages, w: 9 3/8 x h: 6 1/2 x d: 4 1/2 inches, December 2009 – January 2010. 
Artwork © Karen Guancione. Photograph © Debra Schiff. All rights reserved.
From Karen Guancione Art

The following two photographs are © Bruce Riccitelli. All rights reserved.
From Karen Guancione Art
From Karen Guancione Art

In the following short video, she talks about using her body as a printing press to produce "Foufune."



During the interview, I asked Karen about her training. I was delighted to hear about her punk foundation. In the video below, she tells me about that exciting time in London, as well as her piece, "No Rest."



No Rest
Mixed media: wood chair, handmade paper, encyclopedia paper, recycled papers from artist's daily life, gold leaf, mirror, gold leafed cups, 40 x 17 x 18 inches, 1998. Artwork © Karen Guancione. Photograph © Bruce Riccitelli. All rights reserved.
From Karen Guancione Art

Finally, Karen warns me about touching "No Rest," and talks with me about her "Garbage Books."



Spiral Bound Garbage Books
Found materials and over 400 spiral bound books made from decades of accumulated recycled trash, packaging and paper scraps from around the world, individual scraps are dated and each book numbered, ongoing project, 2007- present.  Artwork © Karen Guancione. Photograph © Bruce Riccitelli. All rights reserved.
From Karen Guancione Art

These videos represent most of the footage I collected during my interview of Karen on May 5, 2012. If you want to see more, please visit the YouTube playlist at http://www.youtube.com/playlist?list=PLB889D867E48C3884&feature=plcp. Additionally, more photographs by Bruce (and me) are available on my Picasa Web Album for Karen's art here: https://picasaweb.google.com/debra.schiff/KarenGuancioneArt.

Coming soon, my next interview with Karen at her "Bolsas de Mandado" exhibit in Loveladies, New Jersey.

Sunday, April 29, 2012

Spring 2012 Mid-Atlantic Archives Conference


Perhaps it was the setting (Cape May, gorgeous weather). Maybe it was the wonderful Local Arrangements folks who were very proud and knowledgeable of their local history. Or, it could have been the program and the workshops. The winning combination of all of the above likely made the Spring MARAC (April 12-14) a success as an entertaining and educational conference.

Dating 19th Century Portrait Photographs Workshop
One of my favorite parts of the conference was Gary Saretsky’s Dating 19th Century Portrait Photographs workshop on Thursday April 12. During his presentation, I felt as if I were absorbing a semester’s worth of knowledge in an afternoon. In addition to giving workshops, Gary is the Monmouth County Archivist, and Coordinator of the Public History Internship Program for the Rutgers University-New Brunswick History Department. He also is a fine photographer himself, with a recent exhibit of blues performers at the Plainfield Public Library.

Gary’s workshop took its participants through the history of early photographic portraiture from the earliest Daguerreotypes in 1839 through cabinet cards in the late 1800s-early 1900s. We learned the distinctive elements that help date Daguerreortypes, ambrotypes, tintypes (also known as melainotypes and ferrotypes), cartes-de-visites, and cabinet cards. Gary also provided us with resources for determining the dates of costumes in photographs.

He brought many examples of cabinet cards and earlier photographs, and invited us to try to identify them, using what we had learned. I just wanted to buy a micrometer and attempt to identify the cabinet cards (by thickness and other means) within the Plainfield Public Library’s Local History collections. Overall, it was an inspiring, informative workshop that was well worth the price of admission. If I were an archives professor, I’d book Gary as a guest lecturer every semester.

Conference Sessions
In the sessions I attended, I noticed a pattern with some of the speakers – they were the users of archives and special collections, rather than “us.” I was glad to hear how these professionals tied the importance of archival collections to their work because they are our patrons and researchers. They teach us how to best help them. Most also expressed their intense gratitude for the work archivists and librarians do to make materials accessible in person and especially online.

For example, the plenary speaker was historic preservation consultant Joan Berkley, who spoke about the archival resources, especially primary sources, she used to uncover the structural details of an historic house museum. Importantly, she named all the repositories she used, and explained how she used the archival materials in her work. Another session I attended, on preserving and promoting New Jersey’s historic structures, also featured three speakers who use archives and libraries to preserve historic properties, the Doo Wop resort architecture of the Wildwoods, and lighthouses in the state.

Additionally, the final session of the conference featured the author of Boardwalk Empire, Nelson Johnson, and a writer from the HBO series of the same name, Edward McGinty. These two gentlemen talked about the value of archives and libraries from two very different directions, but each made clear cases for the use of primary sources whether digitized or not. The other two speakers of that session, Heather Pérez and Shannon O’Neill of the Atlantic City Free Public Library, talked at length about how the show has changed the way they do their work and deliver their services to patrons.

In the sessions featuring archivists as speakers, there were many standouts, including one focused on the Brooklyn Historical Society's efforts to attract and educate students. It was inspiring to see how dedicated the BHS is to its young student and undergraduate patrons. The society has created a host of programs reaching from K-12 through undergraduates. One example is the Young Curators program, which allows 4th and 5th graders to construct their own meaning of history in a new and visual way. They do this by completing a 12-week residency program wherein they create exhibit panels using the BHS’ archives to encourage further research, and spotlight historical events and people. BHS' programs might be a bit ambitious (and expensive) for the libraries where I work, but the depth and breadth of their offerings are certainly well worth the funding the staff has been able to secure for them.

Public Displays: Using Your Collection and Archives to Tell Your Story was a session featuring three diverse views on displays. First, a young researcher (Rachael Rohrbaugh of Chatham University) talked about the results from her study on the lack of exhibits education in MLIS/MLS programs. Next, a couple from the Cape May County Historical Society (Bruce and Pary Lion Tell) showed us very economical and practical ways to set up and display facsimiles of historic documents in exhibit cases. Finally, an archivist I had seen at a previous MARAC, when she worked at the Andy Warhol Museum (Amy Lucadamo, now of Wilson College), provided a variety of methods to showcase collections. In particular, she focused on an innovative timeline she created for alumni visitors – it connected images and icons of shared history with individual histories of alumni. She also showed ways to spotlight objects and records in nifty ways, such as magnifying text (a museum display technique).

Finally, one of the most riveting speakers was neither an archivist, nor historian. He was our host, Curtis Bradshaw, owner of Congress Hall. Curtis is the grandson of Carl McIntire, a fiery fundamentalist Presbyterian minister whose mammoth collection of papers and audio records was recently processed by the Princeton Theological Seminary (primarily by MARAC Program Commitee Co-chair Bob Golon). In the session Rescuing and Making Available a Controversial Collection: The Carl McIntire Papers at Princeton Theological Seminary, Kenneth Woodrow Henke, of PTS, provided a lively history of McIntire. He also told us how the collection came to PTS, then introduced Curtis, who shared his personal impressions of his grandfather. Curtis told many stories of how his grandfather worked. For example, he would watch his grandfather at the microphone, delivering his radio sermons. He also directed groups of female volunteers to keep newspaper clippings files (now at PTS) in order to save a record of his 20th century reformation of the Presbyterian church. A charismatic speaker, Curtis kept his audience amused, and gave us a peek into the famed minister’s life.

As always, MARAC exceeded my expectations and left me with more knowledge and skills to take back to the libraries where I work. To see the complete program, visit MARAC (downloads a PDF). http://data.memberclicks.com/site/marac/Marac-2012-SpringProgram-4.pdf

Sunday, April 22, 2012

Curator's Tour of Karen Guancione's "A Portable Constant Obsession" Exhibit at Rutgers

Introduction
From the first time I experienced Karen Guancione's work at the Printmaking Council of New Jersey, I was hooked on her work. Karen has a background in fiber art as well as printmaking. Her work calls out unsung people, especially women, who do much of the hard work that goes into everyday objects, such as clothing. She also uses traditionally feminine objects (such as red leather high heel shoes and brassieres) to put a point on her feminist works.

Karen is especially interested in found objects, making hundreds of artist's books from other people's castoffs. Because I'm a big fan of artists' books and the artists who make them, I was excited to learn that Karen would be exhibiting some of her recent and early works at Rutgers' Alexander Library in New Brunswick (until August 31, you have a little time, but don't miss this exhibit).

Not only is Karen a working artist, traveling worldwide to exhibit and make her remarkable art, she also shares her knowledge as a lecturer and teacher of art and design at SUNY Purchase, as well as other schools.

The Tour
My host for the tour of Karen's exhibit, A Portable Constant Obsession, was none other than its curator (and my friend) Michael Joseph, the Rare Books Librarian at Rutgers. I first met Michael when he gave a presentation on artists' books during an MLIS course called Art Librarianship (taught by the wonderful Paul Glassman). He introduced me to an entirely new art form, and I later asked him to be my advisor for my independent study. It was great fun working with Suellen Glashausser's artists' books, and ensuring their preservation. That experience solidified my affection for artists' books and admiration for Michael's knowledge of book arts.

Note: My apologies for some of the noise in the videos below. The air conditioning in the downstairs gallery is quite loud, and the upstairs gallery is located directly across from the main entry of the Alexander Library. Suffice to say, it can be a noisy spot. I also apologize for the reflected lights in the museum glass of the exhibit cases. I hope to be there when Karen uninstalls the exhibits to take some footage without the reflective glass.

In the short video below, Michael introduces us to Karen's current installation in the upstairs gallery of Alexander Library.



In the next video, Micheal shows us more of Karen's recent artists' books, and talks about the influence of her feminism on her work.



In an exhibition such as this one, it is especially interesting to see an artist's earliest works. We are fortunate to be able to experience (in the video below) some of Karen's earliest artists' books displayed in rather a unique way. Michael speaks to the nature of Karen's display technique, as well as how these works helped her to make sense of her early life, below.



In the downstairs, Special Collections gallery, Michael shows us some of Karen's more recent artists' books, especially some in her Summer series.



In this case, Michael explains, Karen's Aquiloni are now part of books, not only suspended from the ceiling of the exhibit case. He also talks more about her books made in Nice, France.



In this next video, Michael tells us some of the history behind this large accordion-style artists' book.



We are very fortunate to experience one of Karen's best known works, Guide de la Correspondance Amoureuse. It's a fantastic piece bound in a scarlet bra. Below, Michael talks about the meaning behind this unique binding

 

Below, we see a multimedia installation that includes a video of women dancing and a selection of Karen's Garbage Books. You can see Karen smiling and dancing in the video.



Finally, Michael shows us Karen's Pátzcuaro and Foufoune works.



I encourage you to visit Alexander Library at Rutgers to see this extraordinary exhibit before it closes at the end of August.

Saturday, March 10, 2012

Guest Blogger Ken Cleary on Ben Vershbow’s “Hacking the Library” Talk

Introduction
Ken Cleary always posts interesting links and ideas on the Rutgers SOURCE (the Student Organization for Unique and Rare Collections Everywhere) Facebook page. For that reason, I thought he would be an excellent candidate for a guest blogger. Ken is working his way through the Master of Library and Information Science program and expects to graduate in May. He also is co-president of SOURCE and serves as the current Archives Assistant for the University Archives at Rutgers. Suffice to say, his time is tight. However, he managed to squeeze in an article on his experience attending the March 6 “Hacking the Library” talk at Rutgers.

Please welcome Ken to Here and There. The rest of this post is his (except my Editor's Note), including the accompanying photos.

“Hacking the Library”
I recently had the pleasure of attending a talk titled, “Hacking the Library,” given by Ben Vershbow, head of the Digital Labs at New York Public Library (NYPL). He spoke to a small crowd of graduate students and faculty at the School of Communication and Information on Rutgers University’s New Brunswick campus. The phrase, “hacking the library” is certainly an attention-grabbing title for a talk, but Vershbow quickly clarified that his use of the term “hacking” is meant to convey a desire to make information more widely accessible.

Vershbow began his talk with a frank admission that he never expected to work at a library or as a “digital humanist.” However, after graduating from Yale with a B.A. in Theater Studies, he became the editorial director for The Institute for the Future of the Book. There, he immersed himself in an environment that experimented with how technology influences the ways people interact with information. This environment comprised a wide range of people, including new media gurus, literary scholars, gamers, writers, and philosophers. Their conversations and work explored such topics as the democratization of information, the book as a social object, the networked book, virtual environments, popular culture, blogs, and the future of reading and writing.

One of Vershbow’s notable examples was his customized blog for author and philosopher McKenzie Wark. The blog allowed for interactive, paragraph-by-paragraph public commentary of an early draft of his work “Gamer Theory.” Consequently, Wark’s online “editors” helped to refine his ideas and shaped revisions to the final text.

Below is a photo of Vershbow speaking at Rutgers.

From Guest Blogger Ken Cleary

NYPL Digital Labs
After spending four years within the eclectic and imaginative realm of The Institute for the Future of the Book, Vershbow joined the New York Public Library as part of a larger effort by NYPL to enhance their digital humanities services. At first, his work focused on overcoming cultural and technological barriers to implement a more open-source and decentralized information technology practice across NYPL. Finding new ways to bridge the gap between technology and collections is one of his top goals, and Vershbow said that his untraditional background helps him to more easily “work against the grain” to find innovative solutions. To support this ongoing process, NYPL created a digital labs unit where he and a small team could tinker with new ideas. Vershbow sees the lab functioning as a “hybrid space” that sits between the library technologists and the curators and archivists who care for collections, allowing his team to incorporate both points of view into their work.

According to NYPL Labs,

NYPL Labs is an experimental unit at the Library developing ideas and tools for digital research. A collaboration among curators, designers and technologists, NYPL Labs is dedicated to rethinking what a public research library can be and do in the new information commons. We develop everything from proof-of-concept pilots to fully realized web applications and digital archives, as well as hosting a variety of staff workshops and public talks.

Vershbow described the Labs’ recent work and how some of their successful projects were born. Many of the experiments began with an awareness that NYPL has a small, but growing, collection of digitized items that are displayed on their web site in much the same way as other libraries’ digital collections.

Vershbow could see information in the images of 19th century maps or century-old menus that was visible to the human eye, but which could not be discovered by searching the library’s catalog or Google. The digital versions of these objects only had a simple title and a very basic description, which limited the ways they could be searched. He then began to imagine how much more useful these images could be if all of the latent information could be transcribed into digital form, and thus become “findable” to a Google or library catalog search. The drawback was that accomplishing that task would be extremely labor intensive.

Even an institution as large and distinguished as NYPL does not have the resources to transcribe the information contained in tens of thousands of images. So Vershbow turned to a technique called “crowdsourcing.” This practice has been used by the scientific community (think bird counts during migration), as well as in libraries all over the world.

[Editor’s note: I’ve seen many examples of crowdsourcing, but most commonly, I see it in “tagging.” Instead of using uniform terms (such as those found in the Library of Congress authority terms), the user tags an item with terms familiar to them to describe objects. This method is intended to help other users familiar with the same terms to search for items in a more “natural” way.]

One way to explain crowdsourcing is to highlight an example of how the NYPL Digital Labs utilized it. The Library holds more than 40,000 restaurant menus dating back to the 1840s, making it one of the largest collections of its kind in the world. More than just an historical curiosity, the menus are a treasure trove of economic, social, and cultural history. As Vershbow explained, being able to search for the term “oyster” could be of great interest to scientists who are trying to connect the dots between culinary trends and data on the health of the oyster population. But the only way that the details on prices, ingredients, dishes, and more, can be transcribed is with a lot of help. So, the Digital Labs created a web site called, “What’s on the Menu?” that invited the public to help transcribe menus, one dish at a time. As of today, over 75,000 volunteers have helped transcribe 812,361 dishes from 12,796 menus, and the project is still going strong.

The Stereogranimator
The most recent project to emerge from NYPL Digital Labs takes crowdsourcing a step further by incorporating aspects of Vershbow’s previous work at The Institute for the Future of the Book. The Stereogranimator web site allows the public to choose from over 40,000 stereographs to create their own shareable animated gif or 3D anaglyph.

Below, Vershbow demonstrates examples of 3D anaglyphs created with the Stereogranimator.

From Guest Blogger Ken Cleary

Vershbow explained that the inspiration for the Stereogranimator grew from a patron who created their own animated gifs from NYPL stereographs and publicized them on the web. Vershbow emphasized that this is an important example of the library listening to its patrons and providing useful and creative tools for interacting with the collections.

The photo below shows Vershbow's audience learning how to use special glasses to appreciate the 3D anaglyphs created with the Sterogranimator.

From Guest Blogger Ken Cleary

Vershbow’s talk, including questions and answers, lasted for an hour and a half, but could easily have gone on much longer. Other projects that the NYPL Digital Labs have completed, or are working on, can be found on their web site. Many of the projects rely on public participation for their success, but if the response they have received so far is any indication, NYPL will be able to accomplish a great deal using this technique. I am grateful for having had the opportunity to hear Ben Vershbow speak and I will certainly be following his work more closely in future. I believe that the creative and thoughtful approach that the NYPL Digital Labs is taking towards the digital humanities is an excellent example of how technology can be harnessed to make collections more accessible and engaging to both researchers and the general public.

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Ken Cleary is a graduate student in Library and Information Science at Rutgers University. His digital calling card is at: http://about.me/kencleary.

Monday, May 23, 2011

Tour of the University of Arizona’s Special Collections

From University of Arizona

Introduction
During my April trip to Arizona, I looked forward to touring the University of Arizona’s Special Collections (in the Main Library whose exterior is shown above), especially the school’s book collections and the photographs. However, my time to visit shrank to 30 minutes due to an accident on the only major road between Phoenix and Tucson. An overturned tractor trailer had spilled a container-load of strawberries onto the freeway and caught fire about two miles ahead of me.

Once all the local radio stations had announced that the freeway was closed and I had been sitting in the desert sun for 25 minutes, I took out my cell phone and hoped for coverage. I saw a single, small bar on my phone and called my tour host, Chrystal Carpenter, who was very gracious and understanding. Unfortunately, by the time I arrived in Tucson (more than 2 hours late for our appointment), we didn’t have much time because her guest speaker for that night’s event was about to arrive at the airport and she needed to leave to collect him.

Despite the major snag, Chrystal gave me a great short tour and inspired me to return when we both have more time for a visit.

Background on the School
When I read the early history of the University of Arizona, I thought, "This is a story of the wild, wild West." It begins in 1885, when the Arizona Territorial Legislature convened in Prescott, the then-capitol, to discuss a variety of topics including where the territory’s insane asylum would reside and where the University of Arizona would be established. Those early settlers must have been very confident that Arizona would eventually become a state to start planning its university. Statehood didn’t occur until 1912.

The Tucson delegation intended to petition the Territorial Legislature to have the capitol moved from Prescott to Tucson. However, their wagons had gotten stuck in the mud from torrential rain, and they didn’t arrive until after the monies had already been divided. (Today, it takes between 4 and 5 hours to drive north from Tucson to Prescott – imagine how long it must have taken with a horse-drawn wagon on dirt roads and paths.) Because the Tucson delegation was so late, it missed out on the $100,000 that went with the asylum, and instead received $25,000 for the University of Arizona. Six years later, the school’s first student (a 14-year-old girl) signed her name in the registration book. Special Collections contributed materials to an excellent video about that girl’s experience with the school. Watch Clara Fish’s story here.

About the Archivist
From University of Arizona

Allow me to introduce my affable and accommodating tour host, Chrystal Carpenter, the Manuscript & Congressional Archivist at the University of Arizona’s Special Collections. Chrystal has been in her current position for three years. Previously she served as the photo archivist at the Arizona Historical Society in Tucson, and an archives and library assistant at the Arizona State Museum. She earned her Master in Information Resources and Library Science from the University and later obtained her certification from the Academy of Certified Archivists.

She fell in love with the profession as an anthropology/archaeology undergraduate student at the University. Chrystal explains, "I had the opportunity to work at Special Collections, and it is here that I developed a passion for archives. I found that an archival career would be similar to an archaeological career except I wouldn’t get as dirty!"

While she knew she wouldn’t get as dirty, Chrystal certainly didn’t expect that she would be called in to oversee the collection of mementos and personal tributes to the victims of the January 8th attempted assassination of Congresswoman Gabrielle Giffords. Arizona Public Media’s interview below shows Chrystal describing her process of working with the many volunteers who helped collect and package the materials, as well as decisions she made about how to handle this collection. She also does an excellent job of explaining the archival process and Special Collections without being technical or jargony.



I asked Chrystal about her upcoming and current projects. She told me about some of the fascinating work she’s doing and the big projects on schedule for the summer.

A priority for Special Collections is our Borderlands Cultural Community project. With this in mind I have been working toward acquiring collections that fit its scope, as well as prioritizing our processing activities. This summer, we will be processing the Humane Borders archive as well as a bilingual education collection. I also will be integrating the Arizona Architectural Archives (AAA) into our collection. The AAA materials contain about 600 linear feet of architectural and business records and include over 22 collections that were curated by the University’s Architecture department.

I found Chrystal to be particularly impressive in the area of training. In an innovative move, she trained a subset of catalogers from Technical Services to provide archival processing services as well as their regular work. This initiative allowed her to add 100 hours a month of processing to Special Collections and yielded 2.5 full-time processors. Her work, as well as that of her colleague Erika Castano, also helped add value to the metadata of the digital collections and taught the catalogers highly marketable skills.

Exhibits and Public Outreach
From University of Arizona

Whenever I visit an archive, university special collections, or any other cultural heritage institution, I am often intrigued by the displays and exhibits. The University of Arizona’s exhibit space (renovated in 2001) shown above and immediately below provides the archivists with a great deal of attractive, modern space where they show the role played by archival materials in history.

From University of Arizona

The Special Collections department changes its exhibits every six months. At the time of my visit, the exhibit space focused on the life and impact of Stewart Lee Udall ("I’m for Stew" was its apt title). According to the Special Collections web site, he was an Arizona congressman who also served as Secretary of the Interior from 1961-1969 (under both Presidents John F. Kennedy and Lyndon B. Johnson). Udall was "a champion of civil rights, an avid conservationist, a lawyer, a B24 gunner during WWII, and a University of Arizona alumnus," says Special Collections. The next exhibit will focus on Arizona history from 1600-1912 in commemoration of the 2012 Arizona Centennial.

Remember Chrystal’s guest speaker for the night of my tour? He was the second speaker in a three-part lecture series on "Stew." Robert G. Stanton, Senior Advisor to the Secretary of the U.S. Department of the Interior and Director of the National Park Service from 1997-2001, spoke on Udall’s environmental work and how he became a leading voice in American environmentalism.

From University of Arizona

The photo above shows the public reading room used for lectures like Stanton’s. There also is another large space inside Special Collections that is frequently used for meetings and other University events.

About the Collections
The University of Arizona’s Special Collections was established in 1958 to house materials on Arizona, the Southwest, and the U.S./Mexico Borderlands. Today it includes audio; video; film; cassettes; electronic records; photographs; and paper-based collections including personal and corporate records, sheet music, maps, and blueprints in a wide variety of areas.

The processed manuscript collections come in at about 12,000 linear feet and growing. The unprocessed materials are about 3000 linear feet and shrinking. Below is a photo of Special Collections’ unprocessed stacks.

From University of Arizona

Because the University also has a library school, Special Collections makes use of paid graduate and undergraduate student assistants as well as interns to help the seven full-time and two part-time employees accomplish their work. Three of the seven full-timers are archivists.

Most of Special Collections’ patrons are associated with the University, whether undergraduates, graduates, faculty, and/or visiting researchers. However, Chrystal notes "We also have a number of researchers from around the country and internationally, as well as local users." They see approximately 50 visitors per week, and host a long-term researcher utilizing the political collections. "More often than not, our long-term researchers are working with our political collections, University-related materials, or early Tucson research," explains Chrystal.

Because the school is renowned for its astronomy, among other research areas, the Special Collections reflects that focus in its rare books holdings. Chrystal showed me a particularly interesting volume by Galileo, published in 1610. (She holds the volume in the photo above in "About the Archivist.") A researcher, who had located the book in World Cat discovered through his descriptive bibliography work that the book was one of three existing hand-edited works by the astronomer. Below are three photos of the book (the first is the title page, the second shows a hand-edited page, and the third is a close-up of the edit).

From University of Arizona

From University of Arizona

From University of Arizona

The University of Arizona’s Special Collections also contain a small percentage of three-dimensional objects such as wigs, trunks, costumes, and paintings. Below are two examples of objects that are part of the school’s very popular American Vaudeville Museum collection and related vaudeville collections. First is a pair of pants decorated with shell buttons, worn by a vaudeville actor.

From University of Arizona

Next is a box of wigs, also worn by vaudeville actors.

From University of Arizona

Chrystal also showed me some of Special Collections’ Western Pulp Fiction holdings. Below is some of the creative labeling used for that collection. Following the photo is a very short video of Chrystal in the stacks talking about the Western Pulp Fiction.

Embed photo:
From University of Arizona



Other popular Special Collections at the school include the Josias Joesler collection of architectural renderings and blueprints and the Stewart L. Udall and Morris K. Udall political collections. Chrystal’s favorite collections are the Stewart L. Udall and the Don Alonzo Sanford Collections. She likes Udall’s because it contains so much documentation "from his early life growing up in a rural Arizona town and his life as a WWII B-24 bomber, to the vast documentation on his eight years as the U.S. Secretary of the Interior," she says.

Chrystal is especially interested in the Don Alonzo Sanford collection because it "provides a snapshot into the everyday life of a pioneer businessman/politician and his family in the Arizona Territory--from what it would cost for Tucson to install street lights to what it was like for a Eastern woman to travel across country and take up residence in an unfamiliar western territory."

From University of Arizona

Some of the undiscovered or underutilized gems of the collection include the incunabula holdings (books that were printed prior to 1501), science fiction and fanzines collections, and de la Torre family collection which focuses on the Cristero Movement in Mexico.

Conclusion
The University of Arizona’s Special Collections makes significant contributions to the effort to preserve the region’s collective historical memory. Its acquisition, processing, and digitization programs related to projects like the Borderlands Cultural Community program allow its archivists and librarians to work with community groups in the borderland region to acquire collective histories. With proactive and innovative leaders such as Chrystal Carpenter, the future of Special Collections looks especially bright.

Contact Information
Chrystal Carpenter
Manuscript & Congressional Archivist
University of Arizona Libraries, Special Collections
1510 E. University Blvd.
Tucson, AZ 85721
(520) 621-6423
carpenterc@u.library.arizona.edu
http://speccoll.library.arizona.edu/